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  • Wind River

    Wind River

    ★★★½

    Gil Birmingham is so good here that he should have been the star - which would have also made the film's stated Native American sympathies feel more genuine than having us follow two white people. Still, Sheridan still has a knack for dissecting communities and procedure with colourful characters and dialogue, building a killer snow western/noir by carving authentic flaws into stock types. Dude can fucking write. Even if this is weaker than both his previous efforts, didactic and bluntly…

  • Logan Lucky

    Logan Lucky

    ★★½

    Pleasant and quite funny when the actors lean into the off-kilter rhythm of the dialogue, but so lazily paced and thinly written that it's hard to care. I kept sputtering as Soderbergh would hold on scenes for minutes on end, letting us soak into what I imagine is supposed to be a colourful world and characters but feel so barely realised that the empty space is suffocating. Craig, Tatum, and Driver breathe life into their parts, but everyone else basically have cameos in a narrative that add up to, what, that meta line about "Oceans 7-11"? Super disappointing.

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  • Churchill

    Churchill

    ★½

    This movie ends with a title card informing the audience who won World War 2.

  • Nocturama

    Nocturama

    ★★★★½

    MIFF 2017

    A conceptual thriller, Bonello abstracts terrorism into a series of symbols, information transfers, and actions for the sake of actions - rebellion and ennui, smashing together in an inevitable explosion of unformed desire. I can see how people might see this as either A: depicting vacuity or B: being vacuous, but I think those interpretations mistake the actions depicted onscreen as without purpose, rather than defined by purposelessness (an important distinction). If a teenager lip-synching the Shirley Bassey…